Reviving Art

Artist Lakhichand Jain is adding a new lease of life to Mandana, a Rajasthani folk art form of paintings, says Anita IyerMandana paintings are gradually losing signifiance, as we no longer have mud walls and earthen homes to adorn them with this folk art. But Mandana artist Lakhichand Jain is working to give a new lease of life to Mandana and rejuvenate the dying art form. Many people are not aware of this Rajasthani folk art form of painting. Mandana is found in areas like Bundi, Kota, Tonk, Sawai Madhopur districts of Rajasthan, Gujarat, Maharashtra and Malwa, Nimar and Tanwarghar regions of Madhya Pradesh. The word Mandana is derived from the Sanskrit word ‘Mandan’, which means ‘to invent’.

“My mission is to give Mandana a mainstream recognition and global accreditation. The only way to preserve such a custom is by developing it through unique ways, modern techniques and different media. Mandana has its own language which has to be comprehended to gauge the depth of its various aspects”, he says.

Mandana paintings can be divided into two forms depending on their content- Vallari Pradhan and Akriti Pradhan. The Vallari pradhan consists of floral patterns where lotus is given more importance, animals like elephant, camel, peacock, birds etc. The other form Akriti Pradhan includes geometrical forms and represents essentials of nature like triangle (fire), square (earth), circle (water), dot (ether) crescent-curve line (air).

Traditionally the Vallari Pradhan are drawn only on the walls, whereas Akriti Pradhan can be drawn anywhere from walls, windows, doors, entrance etc. varying anywhere between two to ten feet. Mandana paintings are an expression of the artist’s inclination to welcome the gods into the house. It is considered inauspicious to keep the entrance of the home empty during festive occasions so Mandana was drawn to pull in positive energy. It was also believed that Mandana protects and wards off evil. “This art is closely related to the science of vastu, beauty, holy charms and spiritualism, etc. It is necessary to go right into the depth of this art, its symbolism.. in order to understand its soul”, Says Mr. Lakhichand Jain

In Mandana paintings, lines are used extensively, as a connection of lines gives birth to art. For making this painting on the floors of the house, a mixture of brick and cow-dung is applied on the floor and left to dry. Later, a small strip of cloth is dipped in the colour and the cloth is pressed between the palms to let the colour flow through the ring finger. It requires a lot of skill to draw thick and thin lines from the same amount of colour and fingers. Lakhichand Jain, who has learnt this art form from his grand mother says, “It is a tradition to sit in a place and complete the piece sitting for 10 hours at a stretch. Also as fingers are generally used to make this art, at the end of the session the tip of the finger wears off. That is the real test of patience of an artist and his dedication to this art. Also one needs to concentrate completely while drawing because mistakes cannot be amended or corrected”.

Paintings were also made using bamboo brushes to draw the lines. This unique brush was made from bamboo sticks with cotton stuck at one end. For painting, this cotton end is to be dipped in natural colours like yellow sand, brown sand, chalk powder and used.

Lakhichand Jain is also planning a project ‘Mandana on wheels’ whereby Mandana paintings will be displayed in different parts of India. Also he is writing a book on the philosophy of Mandana. “There is a need to create awareness about this art form as not many people know about it. I would love to see Mandana as one of the identities of India and contribute to it economically”.

Artistic welcome.

Even owing to the space constraints today, people still follow the traditional method of drawing rangolis, says Anita Iyer.

The art of rangoli has come a long way from use of natural dyes to rollers with designs drilled on their surface and even the rangoli stickers but the significance of rangolis made from rice flour still continues. These rangoli stickers are just an alternate to the original rangoli owing to the limited space available outside each house. These rangoli substitutes do not have any positive effects as the powdered ones.

The colours used in rangolis are absorbed by the eyes, skin and skull and our electro-magnetic field. The energy of colour influences our physical, spiritual and emotional being. The different colours used in rangoli have an optimistic affect on the individuals. Dr. Taparia says, “The electromagnetic waves released from human body are attracted to the colours of the rangoli. They change the aura of our body and create positive energy within us”.

It is a profound branch of knowledge and includes many facets. He further adds, “Designs to be made in rangolis differ for person to person. The designs and patterns of the rangoli are made according to the aura of a person. If anybody seeks wealth, the pattern is different from the person seeking happiness”.

Rangolis including floral patterns or geometric figures with use of colours forms an important part of our Indian culture. These symmetrical designs not only decorate the entrance of the house but also have other benefits like warding off the evil influences. Rangoli patterns are believed to invite the forces of prosperity and bring fortune in the home and bestow the family with success. It is assumed that rangoli possess a lot of health benefits like the sitting posture used to make rangoli is supposed to improve the digestive system and reproductive organs and also serves as an overall stretching exercise for the body daily.

The word rangoli is derived from the words rang (colour) and aavalli ('row of colours'). India is known for its hospitality and rangolis are basically designs and patterns made near the entrance to a house to welcome guests. In traditional times, it was assumed as rangoli powder was made only from holy turmeric and kumkum, it brought harmony to the person who crossed it and entered the house.

However, there are even other aspects to the concept of drawing rangoli on the entrance. Like Ananth Laxmi, an 80year old south Indian says, “It is a part of south Indian culture to draw rangolis on the door step before the sun rise. It was the duty of the eldest lady member of the family although many young girls also got engaged later. These design were made to invite Goddess Lakshmi - the Goddess of prosperity in our homes. Also it is a part of Hindu scriptures to feed the animals, rangoli powder made of rice flour, the main idea is to feed the ants and birds”.

In the primitive ages, the designs and patterns of rangoli were inspired by nature so animal and plant figures were drawn. Even the colours then were derived from barks of trees, leaves, indigo, etc. But today, synthetic dyes are used to create a range of bright colours.

There are various types of rangoli depending on the pattern and the elements used and also it is known by different names in different regions of India. Like Alpana in Bengal is made from powdered colors (produced from dried leaves), charcoal, burnt earth, grains while Kolam in South India is made rice paste. The other include Aripana in Bihar, Madana in Rajasthan, Rangoli in Gujarat, Karnataka and Maharashtra, Chowkpurana in Uttar Pradesh, and Muggu in Andhra Pradesh.

Pratibha Karandikar, member of Sanskar Bharti, an association, which has been striving to restore Indian cultural values says, “Rangoli is a symbol of purity and creates an aura of auspiciousness for that occasion. Rangoli also symbolizes unity as people gather together to make rangoli and also useful in improving concentration. Different colours signify different qualities like green symbolizes calmness and red is used extensively in rangolis because it is considered auspicious according to Hindu scriptures”.

Mrs. Sneha Sawant, who has been conducting rangoli workshops for the past 10 years says, “By making rangoli on the entrance of the house, it is believed that family members who go out crossing the rangoli come back safely”. The latest trend in rangoli is ‘The Theme based Rangoli’ based on the Indian festivals. Like for Janmastami, the theme used would be dahi handi. Mrs. Sawant also boosts of many foreign clientele who are coming forward to learn the art of rangoli to know more about Indian culture.

Five minutes of fame!

Money and fame in Bollywood may be short-lived and hard to come by, but this does not deter youngsters who are willing to begin as nobodies, says Anita Iyer

The glamorous world of Bollywood attracts many Indian youth, and thousands of youngsters come to Mumbai, the land of opportunity, in the hope of becoming stars. Many believe that they can eventually make it big if they are a part of Bollywood even in a small way, as dancers in a group, overshadowed by the lead actors. Actors like Arshad Warsi and Shahid Kapoor, who are well-known faces in the industry today, had made their debut in cinebiz as dancers.

While fame is a great temptation, it is also the quick money that lures teenagers into the profession, and they often drop out of college in the process, despite the fact that there is no longevity in this career. Rupali Yeramkar who has been in this field for the past two to three years and has worked with some of the top choreographers in the film industry says, "We get paid around 2,500-3,000 for a 12-hour shift. Sometimes when the shift gets extended we get paid extra for it. For performing in shows, we get paid about 5,000-6,000 per entry, which is not at all bad".

At the cost of earning fast money, Indian youngsters are often willing to make compromises with culture and values. Sharon D'Souza, who dances with a troupe, says: "Often, we have to wear certain clothes, with which we are not comfortable. These days the performers behind the stars are bound to wear skimpy sexy clothes that reveal their bodies. If the producer or choreographer demands something, we have to give in. We have no say regarding the outfits and have to compromise just for the sake of being able to survive in this field".

Many of these youngsters flock outside the Dancer's Association daily to avail the much-needed membership. Paresh Shirokar says: "Entering in this field needs a lot of investment as you need to acquire membership in the dancer's association. Without the membership card, dancers are not allowed to perform before the camera. A payment of Rs. 51,000 for girls and Rs. 1,25,000 for boys needs to be made to become a member of the association. Youngsters who cannot afford it find some means to collect the required amount". Of course, there are no guarantees of success despite this; with the tough competition that youngsters face, survival also depends on talent and the ability to be tough.

Saroj Khan, the well-known Bollywood choreographer says, "It totally depends on an individual's talent. If he possesses it, he can, of course, make it big some day. Every field has its own struggle and so does this profession. It takes time to establish yourself. However, I have seen many of my kids growing and making it big in movies and television serials".

There are other pitfalls. For one thing, the contract system is very crude. If you have signed a contract with any choreographer, you need to stick by him or her and perform only with this choreographer till the contract expires. If the choreographer gets a show or a break it's fine but if he or she does not, even the performers are left jobless. This results in a great deal of frustration and exploitation, and since the concept of a permanent job is absent, performers often move from one choreographer to another once the contract has expired.

Jaggi Gupta, a photojournalist from Mumbai who has been a close observer of this field, says: "This whole profession is cheap and dirty. Crowds of performers wait for hours outside the Dancer's Association to be picked up for a day's assignment. They are more or less like daily wage earners who earn on a daily basis. But for the ones who have established themselves, it is easy sailing".

As is well known, however, in the showbiz industry everything is short-lived. As Rupali Yeramkar points out: "You are in demand and wanted only till a certain age. Once you have lost the body, age and grace you are nowhere. There is no surety in this field and for girls who get into it, it is very difficult to find an alternate career later".

Towel left in a patient's tummy at AIIMS !!!

The news that went on air last week about a patient complainind that a towel was left in her stomach after being operated was shockin! it was more shocking to know that it was no ordinary private hospital but country's premier institute All India Institute of Medical Sciences (AIIMS) where the mistake occured.

A Delhi resident, Gursharan Kaur had undergone gall bladder surgery on July 27 at AIIMS. Soon after that she complained of pain and was again admitted in a private nursing home. on being operated the second time at the private hospital, it was found that doctors at AIIMS has left a towel in Kaur's stomach.

Another thing to be noted is this is not the first time AIIMS is under scrutiny. even in the recent past, wrong diagnosis of breast cancer of a 50 year old lady by doctors at AIIMS resulted in removal of right breast and arm pit of a patient. AIIMS had to shell out Rs. 5 lakh for their negligence behaviour.

if such blunders take place in AIIMS itself, wot can be expected of other private hospitals spread across in large numbers?? and why blame the quacks for their negligence when even educated and highly qualified doctrors at AIIMS are involved in such acts??

The other side of glamorous MuMbai!!!

Last week when i was travellin by Mumbai local trains at 11 in the night i was shocked at the happenings in the barely crowded train. there was a group of three girls aged somewhere between 10-12 years. At first I couldn’t understand why they are so dizzy and tired unlike kids of their age. I thought probably its becoz they are hunger stricken that they are so weak and pittied their condition. But soon what I saw shocked me! They were actually doping with some liquid and were helpless. what they did is pour some liquid on their duppata and breathe deeply through it. i could see them lost in it and unaware of the surroundings.

i wanted to know more about this habit among the kids and i tried talking to them. but i guess i was barely audible to them as i kept repeating questions. i asked a girl since when is she into it and who introduced her to the concept? she seemed lost deep in thought and later said, "Mein yeh bahut pehle se leti hoon. ise nasha aata hai... acha lagta hai!" (I have been taking this from long and i enjoying doing this!). however she didnt reply who taught her this initially. i checked the bottle in her hand which she was hiding from me and found it was Kores Diluter that they were using for doping. it was really pathetic to watch these kids lost and lying on the train floor, unconscious and ignorant of the surroundings. later they just got up and were hanging outside the door from the running train. i felt bad as they were off course risking their lives in such a semi-conscious state.

After this incident i thought probably there might be many such children who would have been caught in some form of bad vice or another. there are so many people who are homeless and stay on footpaths and slums. the future of children growing up in such areas is doubtlessly blank. somebody should take initiative for the same. although many NGOs are working towards this, there is probably a need for planned initiative on the part of the government for development of these areas.

grusome truth!

i alwayz wonder y do beggars hav so many children? almost everywer v can see beggars have many kids than they can afford.

i recently saw a family of five children (four girls and the last one boy) at a sugarcane juice center. none of the children were wearing chappals nor were they sufficiently dressed. the family of seven were sharing three glasses of juice and the children were fighting to have the biggest share. i kept wondering why the couple needs five children when they cannot afford to feed them properly. i could not suppress my anxiety and popped the question to the head of the family. he out of dismay replied, "in our community, we need a son to carry the family name ahead. if we do not have a son, the community will disown us and its a disgrace to our ancestral family". i fail to understand the role of a community and the way it works. think over this - parents who cannot really manage to bear the expenses of the kids are forced to concieve one? and in all this where does the concept of self reasoning disappear?

another site common on Mumbai streets annoys me a lot. im referring to the beggars who carry a new born infant on a pan and beg. the poor child is exposed to scorching sun and pollution the whole day. bt then i remembered wot ma economics professor taught in 12th. "People are not poor because they have more children but they have more cildren becoz they r poor". they have more kids bcoz there might be more hands to serve in future. this is a true answer for the query why people who cannot afford even two meals a day have as may as four children.

The over-hyped Abhi-ash wedding!

The much-talked about Aishwarya- Abhishek wedding was supposed to be a "quite, low key affair" owing to the fact that the senior Teji Bachchan was ailing and battling for life. but it didn't seem so as newspapers and Television channels covered stories like their ornate outfits, the explicit jewellery, the special invitation cards, choreographed items at the sangeet ceremony and lot more.

Prime time slots were given for this dhoom dhadaka showbiz shaadi in TV channels and newspapers also covered it extensively. as only few guests were invited stories on who was invited and was not made important stories. those who were not invited were even asked to comment on this to which many said, "well its a private affair and we need to respect that". there were rumours that the guest had to swipe cards for entry. Oh god! as it it were some high security zone.

then during the marriage there was this extraordinary outburst of Mr. Amitabh Bachchan against the press that made the story. it was reported that a reported from a local TV channel was manhandled by a security guard outside the bungalow and the reporter has registered a non-cognizable complaint against the guard.

it has been reportedly pointed out that "the Star of the Millennium" got his elevated position largely because of the media support. it seems coarse on the man's part to ignore the entire fraternity which created him. this are the same people who were there to cover every ups and downs of his life be it he admitted in the hospital or his visit to Tirupati and Siddhivinayak or the entire Bachchan parivar worried over Teji Bachahan's health. these are the same hard working guys who were there to cover every move of the Bachchans.

the entire Bachchan family are public figure be it Jaya and Amitabh or Abhishek and Aishwarya. they are icons created by the public and belong by the public. thus the whole question of privacy is bizarre. Unfortunately, the entire media fraternity were reduced to stray dogs to cover what ever little was availbale. Almost all the TV channels covered the wedding where the closed gates of Jalsa which opened every now were fed to the viewers for hours. the camera zoomed in as the gate opened to get a glimpse of the happening inside. Nut what do the poor journalists do? they were demanded by the editors and the programming heads to cover this much talked about wedding in Bollywood. immediately the next day there were exclusive pictures on some news channels which were hungrily devoured by the viewers.

this incident shows that today high powered celebs manipulate media according to their need. but one thing must be remembered that our photographers are not stray dogs to be summoned by showing a juicy bone and then be kicked when their use is over.